Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

DM

Hopkinson Cundy in London

AA
View Discussion
Nick Austin, Immigrants, 2012, acrylic on canvas, frame, 730 mm x 940 mm Nick Austin, Travelling Envelope #3, 2012, acrylic on newspaper,  575 mm x 785 mm Nick Austin, Crossword Dream, 2012, acrylic on canvas, acrylic on lightbulb, fittings, dimensions vary (canvas 650 mm x 400 mm) Tahi Moore, Structure narrative pans, 2012, HD video/ HD video on DVD (colour, silent), 7.31 mins duration Tahi Moore, Structure narrative pans, 2012, HD video/ HD video on DVD (colour, silent), 7.31 mins duration

The works of Nick Austin and Tahi Moore describe the impasse that precedes a redirection of efforts. The Sunday art fair has been described as a reprieve from the bright white tents of Frieze. Where better then to sketch out the structure of a radical pacifism towards production?

Sunday

London

 

Hopkinson Cundy

 

11 October - 14 October 2012

This was Hopkinson Cundy’s second year at Sunday, a ‘gallery-led art fair’. The fair, first held in 2010 in Berlin, has for the last two years taken over Ambika P3, a large underground space within the University of Westminster and just across from Regent’s Park. Held concurrently to Frieze, it has since its inception maintained a distinctly less formal space, containing no partitioning walls or individual booths. The 2012 edition hosted 20 young international galleries including its organisers Croy Nielsen (Berlin), Limoncello (London), and Tulips & Roses (Brussels). Hopkinson Cundy presented Nick Austin and Tahi Moore, with a selection of work that shared a common interest in using the transgression of the picture plane as a model for a disengagement from production.

The gallery showed three Nick Austin paintings produced this year; Travelling Envelope # 3, Immigrants, and Crossword Dream, and also two pieces from his Aquarium Paintings series begun in 2007. The Aquariums comprise a paint soaked newspaper surface whose ripples and installation at ‘coffee table height’ with metal corner fasteners engage with their surroundings, asking us to treat both sculptural and pictorial aspects as referential. Similarly the 2012 paintings generate a narrative that operates between the immediacy of the symbol and organic painterly illusion. Austin works with a storehouse of common visual imagery in sometimes surreal iterations, as in Crossword Dream in which a realism of reflected light clashes with the readability of the object’s interacting; a compact fluorescent lightbulb and a painting of hanging compact discs.

In Immigrants broken seashells sit on a sofa, a framed beach scene hung above, drawing a direct parallel between illusion and escapism. A loophole is found between the provisional respite of the sofa and a proper “getting away from it all”. In Travelling Envelope # 3 a mildly autonomous envelope makes its way across a countryside at night without any help from the postal service.

Tahi Moore‘s 2011 work Marlowe vs The Star Chamber was screened alternatively with his new work Structure narrative pans. The latter begins with the artist walking along the side of a suburban road. Subtitles convey a stream of thought, describing first a recording of a 1972 Jacques Lacan lecture in which the psychoanalyst was interrupted by a heckler. In the recording in question, when Lacan asks what he had hoped to achieve, the youth replies “That’s the question which parents, priests, ideologists,bureaucrats and the cops always ask the growing number of people who act like me. My answer is, I want to do just one thing - make revolution.” The idea of an interruption that questions the very notion of moving forward is one that Moore models within the structure of this film through “pedestrian” choreographies.

From the trajectory of the opening pan the video moves on to a number of apparently unrelated lines of movement and their subsequent interruptions; along a New Zealand highway, down a classically American desert road (and popular film location) outside of Los Angeles, through a public park at night, and at a social gathering. These settings provide a space for the illustration of the ideas within the subtitles but also act as a place of reflection, empty or isolated from those same ideas.

As the film continues, the subject reasons within the subtitles that ‘the narrative doesn’t match up to the altered structure’ and we see Moore making several attempts to ‘exit the frame’. In the first his walking slows and the camera pan moves past him, then cutting to a shot of him disappearing into the darkness. In another he turns up a hill away from the camera and the plane of its pan. The final frames are in slow motion; a bee traces out the boundaries of the plastic container under which it is caught, Moore looks over his shoulder, the camera searches a barren landscape. The very last scene shows a car park within which Moore is briefly ‘captured’ entering the edge of the frame.

The works of Nick Austin and Tahi Moore describe the impasse that precedes a redirection of efforts. The Sunday art fair has been described as a reprieve from the bright white tents of Frieze. Where better then to sketch out the structure of a radical pacifism towards production?

Dan Munn

Print | Facebook | Twitter | Email

 

Recent Posts by Dan Munn

DM
Paul Cullen, Survey with incomplete models (detail) at ZK/U. Image courtesy of the artist.

Paul Cullen in Berlin

ZK/U (Centre for Arts and Urbanistics)

Berlin

 

Paul Cullen
Survey with incomplete models

 

1 December 2014 - 31 January 2015

DM

The First Issue of Le Roy

DDMMYY

Le Roy: Issue 1


Edited by Kelvin Soh


DDMMYY, Auckland, January 2014

DM
Hito Steyerl, Guards, 2012, single-channel HD video (video stills), 20 min. loop, Courtesy the artist and Wilfried Lentz, Rotterdam.

Hito Steyerl Survey Part 2

ICA

London

 

Hito Steyerl

 

5 March - 27 April, 2014

DM
Hito Steyerl, Liquidity Inc., 2014, single channel HD video projection, 30 mins, courtesy of the artist

Hito Steyerl Survey Part 1

ICA

London

 

Hito Steyerl

 

5 March - 27 April, 2014